Music Review: 'Amok' filled with all-star cast of musicians

Fans of Radiohead have learned to expect the unexpected when it comes to a new record. Classic albums like "OK Computer" and "Kid A" broke the molds of conventional songwriting and rock music, incorporating electronic elements, varying time signatures, and a vast array of studio tricks thanks to the genius of producer and engineer Nigel Godrich. Even Radiohead has their limits, however, which led Thom Yorke, the band's lead vocalist, to dive deeper into the electronic seas with a solo album in 2006 titled "The Eraser."

Nearly seven years later, "Amok" acts like a sequel to Thom Yorke's solo debut in every way including the name of the band; "Atoms for Peace" is the title of a cut from "The Eraser." From the Stanley Donwood black and white artwork that graces both covers to the wild, elaborate rhythms and huge Nigel Godrich influence, "Amok" is, at its core, just a Thom Yorke solo album with an all-star cast of musicians filling in the cracks. Along with Yorke and Godrich, Atoms for Peace is comprised of Red Hot Chili Peppers' bassist Flea, legendary session drummer Joey Waronker, and percussionist Mauro Refosco who is well known for his work with David Byrne.

Right off the bat, "Amok" is somewhat disappointing for the way in which these talented players are put to use. Flea is easily one of the most famous and talented bassists in the music business today. Look up any "best of" list about bassists and you'll have difficulty finding one that doesn't list him in the top three. With such talent at his disposal, you would think Yorke would unleash Flea's abilities on the masses of Radiohead fans used to hearing Colin Greenwood's cool grooves. Instead, Flea is consistently pushed back within the mix. If you listen closely, he's doing a phenomenal job in support of the overall musical loop, but you wouldn't know it was Flea back there if his name wasn't in the album credits.

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Take "Before Your Very Eyes," for instance. As the opening number, "Before Your Very Eyes" is every listener's first impression of this borderline supergroup. Although the guitar and percussion loop fits right in with Thom Yorke's previous solo material, listeners have to wait a full forty seconds before Flea is even given an entrance. On a record where Flea is the most exciting addition, he immediately takes a back seat position. It gets even worse on "Default" where the bass line is four long notes on repeat. Flea's bass does add some nice depth to the mix, but it's difficult not to dream of the potential sitting in the studio as these tracks were recorded.

There are points, however, when Flea is given a chance to explore his own potential as a member of Atoms for Peace. While they are few and far between, these moments are some of the album's highlights. Over fifteen minutes into "Amok," Flea unleashes a bass line on "Dropped" that completely takes over the preceding electronic loop. Instead of playing filler, he carries the tune all the way to the end. Those familiar with Flea's bass solos of the past will realize he is still holding back, but it's a welcome change. Two tracks later, "Stuck Together Pieces," is as close as Atoms for Peace gets to a Red Hot Chili Peppers bass line. With some quick right hand work and a smooth tone, Flea is still held to a repetitive loop, but his fast and precise finger work still resonates.

If "Amok" needed to be summed up in one word, precision is the first that comes to mind. With so much focus on off-beats, interweaving rhythms, and unique textures, every single note needs to be exact in both time and volume in order to fit within the mix. On "Reverse Running," Yorke's distinctive vocals are in focus, like most of the album, but behind him, each voice has a completely unique identity. Percussion, bass, guitar, and electronic ticks all intertwine into a seemingly impossible loop that somehow all manages to fit together over and over again. Although the resulting music is not as melodic as most Radiohead material, the audible mathematics are incredible.

Most of "Amok" began as samples created by Thom Yorke and Nigel Godrich. With this in mind, it should come as no surprise that their influences are by far the two most apparent throughout the record. If you ignore the big names on this project and think of Atoms for Peace as another outlet for Thom Yorke's creativity, the pill becomes easier to swallow, but it's hard not to be disappointed by the lack of something truly extraordinary here.